Invisible Palm Touches

Here are a couple of small ideas for the Invisible Palm plot.

The first comes from Griffin Watt and it’s a quick and casual way to dump off and set up the final ace that would work with many versions of the effect.

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Here's an idea I had as a way to end the Invisible Palm trick.

I don't know that it needs an ending. I think it's a beautiful trick when performed well.

But I think if we looked at the trick as a director or a storywriter, it's easy to see a weakness. The main issue with the trick, as I see it, is that it's more or less the same thing happening over and over and over. There's not much of a build to it. And, in fact, the last "invisible palm" is frequently a less impressive phase, since the deck has been introduced into the equation—which is typically less clean than the previous phases, where there are apparently only four cards involved.

What I'm offering here isn't a modification of the trick itself. It's a button at the end. A "Rep" that goes with a trick where you can apparently absorb items into your palm.

After the trick is complete and the reaction winds down, you say, "It's crazy, because I still have some stuff stuck in the invisible palm from when I first learned it back in high school. Can you feel something hard in my palm?" [Resist the urge to say, "I'll feel something hard in my palm tonight."]

You rub your palm with the thumb of the other hand and extend it to them to feel.

"Sometimes it just gets stuck. Like a sliver." Flex your hand a few times. "I do feel like maybe it's working its way out though."

Give your hand a couple of hard shakes and smack it on the table, dislodging a long-lost coin from your palm.

You know what's happening here. It's the Han Ping Chien style stuff (I believe). After the card trick is over, you grab the coin from your pocket with your left hand. It hides under your right hand as if you invite them to feel your palm.

You then drop it from out of your left hand as your right hand smacks it on the table.

I don't know how deceptive this move is generally, but I've had pretty good reactions to it in this context. I think it's because the coin comes out of nowhere. And I don't mean it "magically" comes out of nowhere. I mean that it's been a card trick this whole time and it ends with a coin, so structurally it comes out of nowhere, giving a nice, abrupt surprise at the end. But also something that's in line with what they've seen story-wise.

The Tell/Show Turn

This is my favorite "Turn" into an effect. As discussed yesterday, the Turn is the point where you transition into a magic trick.

Here are two examples of what this particular Turn looks like.

Example 1

You're having dinner with a friend. They ask if you have any new magic you're working on.

"Yeah, I have this one thing I'm working on. It uses music. So, like you would think of your favorite song. And then there's a little mind game you play that opens up an interesting channel of connection related to music. And... wait, actually maybe I could try it with you."

Example 2

You're hanging with a friend. "Is there a bruise there?" you ask, pointing at the back of your arm. "Damn. It feels like there's one there." You explain that earlier in the day you showed a trick to a co-worker and she got pissed and punched you in the arm. [Wagging your finger and imitating her] "You asshole. That's messed up. There's no way you did that. You're messing with my mind." And then she went off and punched me weirdly hard in the arm.

Your friend asks about the trick.

"Oh, it's this thing. It's kind of like a way to manipulate time. You take a dollar and you tear it in half. So now you have a very distinct before-and-after moment to reference. And, so, like you take one half and… actually, why don't I just show it to you."

It's not that you're going to use these specific stories—it's the structure that's important.

You start off describing the trick and then "change your mind" and offer to show it to them.

Why does this work so well? Because before you ever offer to perform, you’ve given them a chance to start wishing you would.

If you walk up to someone and say, "Want to see a trick?" Whether they do or not, that's going to feel a little bit needy on your part.

But here you’re just talking about a trick. That’s much more casual—and much less satisfying. Listening to someone describe a magic trick is a little like listening to someone describe a dream: there’s only so invested you can get in something you’re not actually experiencing.

After a couple of sentences, the natural thought is: I wish I could see this instead of just hearing about it.

Because you’re talking about things like mindreading, time travel, ESP, gambling scams, synchronicity—ideas that would be intriguing to experience. Hearing about them is like hearing someone describe a great new back-rub technique. Okay. But you’d rather feel it.

And that’s the trick of this approach: the desire to see the effect appears in their mind before the offer to perform appears in your mouth.

There’s a second benefit: it makes the performance feel genuinely spontaneous.

Compare pulling a bunch of props from your pockets and asking if someone wants to see a trick with this: you’re talking, the idea of showing them something seems to occur to you in the moment, and now you’re looking around for whatever you need.

“Okay, let’s see. Do I even have the stuff for this? I need a Sharpie, a bill, that little box from the antique store…”

Having to go gather the props can make the whole thing stronger. The lack of preparation becomes evidence that this wasn’t planned.

This is also a helpful Carefree Technique, because it means you don't have to have any props you need on you or nearby. This conversation and the decision to show the other person arose just now—so you can go assemble what you need.

✿✿✿

I know people are going to say, "There's nothing wrong with asking someone if they want to see a trick and then taking stuff out of your pocket."

Here's a thought experiment.

I want you to imagine you meet a quite attractive person of whatever sex you're into. After a few minutes of conversation, they say, "Would you like to see some nudes I had taken recently?"

Even if you’re attracted to this person—and even if you absolutely do want to see the photos—some part of that offer feels a little desperate. They’re pushing something desirable at you instead of giving you a chance to desire it first.

But if the person said, "I just had a modeling gig. It was a new experience for me. I usually do high fashion, but this was just like a necklace and nothing else. I was in a bed and it had these sheets which matched the color of this chunky necklace and the way he had me pose was—well, it's hard to explain—kind of like this…" And as she's talking, you're thinking, "Damn, I'd love to see those photos."

And just as you think that, she says, "Actually, let me show them to you. It's hard to explain and it will be good to get someone else's perspective." She's not going to come off as a sort of sad individual flashing her nudes around. It's almost going to feel like you instigated her offer to show them to you with the way you were thinking.

That's what the Tell/Show Turn is about: creating an unspoken wish in their mind that you are then able to grant by showing them the trick.

Turns

The transition from not performing to performing in social magic is, I think, the most important moment of the whole interaction. That sounds like hyperbole, but it's genuinely been my experience.

A trick that's a 7 but feels casually introduced always gets a better response than a trick that's a 9 that we lurch awkwardly into performing.

In social magic:

We're talking. We're talking. We're talking. [Something happens.] And now we're doing a trick.

That [Something happens] is so important, but it's hardly ever talked about in magic.

This is the Turn—the point where we're not doing a magic trick into the point where we are.

[I've written in the past about blurring the lines of that moment. But this approach is different. With a Turn we're being a bit more blatant about it.]

I think the worst thing you can do in that moment is say, "Do you want to see a magic trick?"

Also, the most common thing people say in that moment is, "Do you want to see a magic trick?"

That's how bad we are at this stuff. We're doing the worst, most obvious approach as the first element we use when introducing a trick.

It's similar to snapping to make magic happen, which I pointed out years ago was the laziest, least-effort thing you could do to affect magic—and it's also one of the only things people would ever do.

"Do you want to see a magic trick?" is a line that only sounds right when preceded by, "Golly gee, mister." And when it comes out of someone who looks like this:

That’s the first problem, it sounds juvenile.

Secondly, “Do you want to see a magic trick?” immediately sets the performer/audience dynamic in place. And that's not what people want to feel like when they're spending time with someone. "Oh, I'm the audience and he's going to entertain me." That's uncomfortable and not fun.

And asking permission creates a third problem: it frames what you’re about to do as a potential imposition. Something you need their consent for before you burden them with it.

The key to making the Turn is not to ask for permission to perform.

Think of the difference between these:

"May I show you the photos from my vacation?" vs. "Oh man, you have to see these photos from my vacation."

"Can I recite a joke to you?" vs. "I heard this great joke. This door-to-door salesman…"

"Would you like to hear about an interesting article I read?" vs. "You've gotta hear about this thing I just read!"

The first options subtly suggest you might be imposing on them, so you better get the “ok” first before going on with it.

The second options frames the content as a gift of enthusiasm rather than a request for their time. "I have something interesting/crazy/fascinating/hilarious to share with you. And I have the confidence in it just to go ahead with it."

What do you think is going to capture people more? The one where they have to say, "Yes, you may entertain me." Or the one where they think, "Oh, what's this exciting thing all about?"

These are “Excitement Turns” and they’re what I use most often (if I’m not using “Can I get your help with something?” Or some other form of a “Help Turn.”)

You want what you say to set the stage for how they should feel about what’s to come. You’re excited, so they should be excited. You’re not asking permission to show them a trick. You’re sharing something cool.

“Oh, I almost forgot—I’ve been dying to show someone this.”

“Hang on, you’re actually the perfect person for something I’ve been wanting to try.”

“What you said just reminded me of something wild. You’ve got to check this out.”

“Oh man, I got something in the mail yesterday that you’re going to love.”

“I learned something crazy the other day. You’ve got to see this.”

“You know, you have such a unique energy, and it’s got me thinking. There’s this thing I discovered recently, and I’m wondering if it would work on you.”

“So, I found this thing the other day, and I genuinely don’t know what to make of it.”

“You just reminded me of something I think you’d get a kick out of.”

Of course, I’m keeping these examples as generic as possible. With an actual trick in mind, you’d usually make the wording more specific to the effect.

The idea behind Excitement Turns is to transition into the performance by expressing excitement about what you have to show them, the person you’re with, or both.

If you’re performing from a magician-centric perspective, this can feel difficult because it seems like you’re just cheerleading yourself.

But from an audience-centric standpoint, an Excitement Turn is the most natural thing in the world. “I’m excited about this.” “I’m can’t wait to get your perspective on this.” That’s exactly how you talk in real life when you have something incredible to share.

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The Turns discussed above are general approaches. But there are more specific, narrowly defined Turns as well.

Tomorrow I’ll share my favorite of these—an approach that gets people wishing you would perform before you ever offer to.

Mailbag #179

In [Mailbag #177] you inferred the best way to learn magic is to grab some older books (Scarne and the Fulves books) and work your way through them. While I understand the point you were trying to make and that that feels like a good way to learn, I think you might be being blinded by the typical “in my day!” thinking.

If learning from books is such a great way to learn, why are young magicians now so much better than they’ve ever been before?  —KS

Well, first, I didn’t say that’s the best way to learn. I said that’s how I would choose to learn if I was going to start over. And that’s because, for me, what I’ve gotten the most benefit from and what has produced the strongest impact with real people are the ideas that were borne out of taking a good trick and trying to come up with an intriguing premise for it. Not just learning the best/newest thing.

And I disagree with your premise: “young magicians now are so much better than they’ve ever been before.” I think that peaked around 15 years ago.

Around 10-20 years ago you had a lot of magicians in their later-teens to mid-20s creating stuff that felt like it was really coming from a fresh perspective. People like Danny Garcia, Calen Morelli, Blake Vogt, Marcus Eddie, Peter Turner.

I think that group came of age with the internet, so they had access to more information than preceding generations. But their formative years were pre-social media. I think social media has distracted and dulled the average young magician. Chasing views doesn’t lead to creating interesting new methods or approaches to performing.

But I’m happy to be proven wrong on this. Who’s in the 18–25 range who is creating a repertoire of strong material that I’m missing?

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Looking at your Aug 11 Post, Dirtying the Bill Production, I wanted to share with you a little something I use that may fit the bill (heh) for spectator involvement.  While not a bill production, per se, it does introduce the idea of money appearing.  

So, here's what I do....it costs me a dollar whenever I do this, but I think it's worth it.  Get some $2 bills from the bank. Prepare them ala Chad Long's Scratch effect.  I typically print a stacker to go under neat the scratcher that says You WIN $1"

Now if you're in a situation where you can borrow a single, you explain this new promotion from the local state lottery.  Pull out an unused scratcher sticker and place it on their folded dollar bill.

Do the necessary thing....then slide the bill over to them with a coin to scratch off the scratcher.  

"You WIN $1" will be revealed.  Have them unfold the bill, which is now a two dollar bill.  They won one dollar.

Not sure if that actually fits your concept...but it does get the spectator involved more.—JS

I like that quite a bit. I mean, it’s not eye-poppingly magical. It doesn’t have the visual element of a bill production or bill change. But it feels almost like a mini-Carbonaro Effect moment.

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I'm currently performing two of my solo shows at the Edinburgh Fringe Festival. One is called Fake and is a show about art and forgery based on an old Orson Welles film. The other is called Heist and is pretty much directly inspired by your "live life like a heist movie" post from a few years ago. So thanks for that. 

Anyway, in the evenings I've been guesting in a show called The Big Naked Variety Show where the gimmick is all the performers are entirely naked. There's a stand-up who hosts it, a circus girl who does a wicked hula hoop act, a contortionist who does a killer routine (that also involves producing a real banana from inside herself) then also me. 

I mostly do stand up with a few silly tricks thrown in but something that I genuinely do is just a classic presentation of the invisible deck. You know, throw a pack of invisible cards out, they choose one, reverse it, box it and throw it back to you. When it lands in your hands it "becomes visible". Except I have no pockets or sleeves to produce it from so I genuinely use the "prison pocket" technique. I clench an invisible deck between my butt cheeks during the whole bit then in an opportune moment I retrieve it, hold it against my body, palm it, then produce it. 

It honestly kills. 

I sort of hint that the only way it could be done is if I had genuine magic powers or it was up my butt but stop short of fully revealing it as I think it's funnier that way. 

Anyway, there's my rather unusual and possibly embarrassing admittance that I'm actually secretly quite proud of. 

If you have any other suggestions for tricks or routines that you think would be impressive to perform completely naked, I'd love to hear them.—CC

Come out on stage blowing a big gum bubble. Let it pop, then clearly swallow it.

“They say it sits in your stomach for 7 years, but I don’t believe that. I swallow gum all the time.”

Then wriggle your ass a little like something is annoying you. Reach up into your butthole with a thumbtip loaded with a bubble gum mouth coil and start pulling it out, foot by foot. Scream like it hurts.

When you’re done say, “That’s it. No more gum for me. It’s back to cigarettes.”

Get a cigarette, light it, then push the lit cigarette into your asshole (in the thumbtip you left there when you pulled out the mouth coil). Then use a smoke from mouth gimmick to make it look like you’re smoking the cigarette through your butt.

Then collect your Best of the Festival award.

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Dustings #149

I’m sure the new daughter-in-law was thrilled.

“How foolish of me to think the focus would be on us and the magic of our love, when your father has a stack of Rubik’s Cube cards set up for the Out to Lunch principle.”

You might say, “Oh, Andy. They probably asked him to perform.”

Nope. He states it pretty clearly: he’s going to perform if he gets the urge.

By the way, this picture is pretty much the exact opposite of the Carefree Philosophy in action. Imagine loading yourself up with SEVEN different packs and stacks of cards to attend your son’s wedding. Surely one deck and a little impromptu material could have been enough to embarrass yourself, yes?

I pray you weren’t the best man.

The priest: “May I have the rings, please?”

You: “Aww… hmm. Shit. They’re here somewhere. Is this it? No, that’s a rubber band. I remember taking them out of my jacket to make room for Cinemental, which many people consider a blockbuster two-phase mentalism routine that will leave your spectators begging for a sequel. They’re here somewhere. If not, they’re in the room. Yeah. They’re probably in the room. I’ll grab them later when I go get my Fart-Toon deck.”

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On the Mountebank thread the Magic Cafe we have someone making this point a couple of times:

Here’s a tighter version that keeps the bite but makes the argument flow a little cleaner:

Now, I can’t comment on Mountebank because I don’t own it, although I’ll probably pick it up at some point.

But what I can comment on is putting a business card in your wallet.

Let me put your mind at ease: it isn’t “illogical.” It doesn’t “scream oddness.” There are basically two things people do with business cards, and one of them is put them in their wallet. Only a magician could convince himself that putting a card back where it came from is some glaring breach of normal human behavior.

I spent 500 days testing peek wallets and breaking down every part of the process with spectators. This was never an issue.

Treat writing down the word, putting the card away in the wallet, and then putting the wallet away as nothing more than laying the groundwork for the interesting thing you’re about to get to.

“We’ll get back to that later if we need it.”

You’re simply establishing a target—a word, image, number, whatever—then getting it out of the way so you can move on to the good stuff. That’s all. It’s perfectly reasonable.

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This is actually a great book for the beginning ventriloquist. It teaches you how to make… that thing, and then hands you an immediate reason to drill your labials—because the only thing that will make sense coming out of that dummy’s mouth is “Please kill me.”

“Tleaze kill ne.”

How To Get the Best of Everything (But Mainly Pizza)

Hey fatties, here's a little tip for you on how to get the best slice of pizza when you visit a local pizza joint.

There's one near me that I hit a couple of times a week for lunch. In the summer, the counter is usually run by high schoolers or college kids home on break. If you're good-natured and a decent tipper, they'll usually hook you up. I see them spin the pie around looking for the biggest slice for me.

And I encourage this behavior by letting them know I noticed.

"Damn. That's a good-looking slice."

"Ooh. That's a fat boy. Thanks for hooking me up."

And what happens from there? A positive feedback loop. They come through for me and I acknowledge it. They get a little dopamine hit for being appreciated. They're nicer to me the next time I visit and around it goes.

They have a character to play now. They've gone out of their way to come off as fun and generous and I've recognized that, so they want to continue to live up to that.

But eventually I realized something.

You don't actually have to wait for them to hook you up first.

I've started doing this with people I've never met, in places I've never been, before they've shown me the slightest bit of generosity.

Back to the pizza shop, there's one middle-aged woman who works the counter and has never seemed to be charmed by me in any way. When I ask for a slice, she just gives me the next one in line. Sometimes it's fine. Sometimes it's rinky-dink.

You'd assume most slices would be the same, but they've got at least one spazz working there who doesn't seem to cut the pies like he's aiming for symmetry, but more like he's trying to teach the parts of a circle.

Sometimes you benefit from this. Other times it's, “Here's your secant,” and you're handed some weird sliver of pizza.

Well, one day I walked into the place, saw this woman behind the counter, and saw the next slice was likely to be a piece that was half the size it should be.

In that moment I decided to pretend this woman has always hooked me up.

"Ah, I'm so glad you're behind the counter today," I say smiling. "You always get me the best slice."

Now, I don't know what she was thinking at this point. If I had to guess, she probably thought I had gotten some good slices randomly in the past and that I had assumed she was taking care of me. When really it was just random.

But whatever she thought, she smiled back, rotated the pizza around, and grabbed me the biggest slice.

And she's done that every time since.

I gave her a role and she stepped right into it. It made her happy and it made me happy.

And everyone does it. I use this all the time.

At the ice cream shop: "I'll take a peanut-butter cup flurry. I'm glad I got you. You never skimp on the candy pieces."

At a hotel: "Oh, I lucked out with you behind the counter. I checked in a few months ago and you scored me the best room." (But what if she wasn’t there a few months ago. What if she just started working there? No worries. What’s the worst she’ll think? I mistook him for someone else? Now she’s in competition with this other imaginary person to take care of me.)

Even with magic: "You want to see a trick? Sure, I'd love to show you something. Your reactions are always so good.”

You may say this is manipulative. But it's not. I mean, yes, technically speaking maybe. But getting extra mix-ins at the ice cream parlor isn't the same as strong-arming a widow into giving you her retirement fund.

People like to be noticed and acknowledged. All I'm doing is noticing and acknowledging a good quality in them before they've actually demonstrated it.

And people have a tendency to live up to the version of themselves you've already decided they are.

Un-Etch-A-Sketch

Here's another trick you can do with the Jerx App. For those of you who own it, you'll understand what's going on without me having to explain too much. If you don’t, you can skip this post.

This is good for a small gathering, ideally like 3-8 people I'd say.

At some point in the evening you ask someone, "Can I try something with you? Do you have good intuition? Yeah. I thought you might. You have that kind of energy. I want to try something that involves putting a thought in someone's mind and then removing it. There are some people who can do this with almost anyone, but I'm just learning and I need a particularly intuitive person who's sensitive to this sort of thing."

You split people up so the person who's helping you is one side of the room and everyone else is on the other. (We'll call that the "stage" and the "audience.")

From the "stage" you ask your friend to look around the room and let their mind settle on an object they can draw in about 30 seconds. "It doesn't have to be perfect, just something recognizable. Don't stare at it too long as you look around. I don't want to be able to guess what it is you're going to draw."

As she does this, you go over to the audience and gather them around and tell them the thought you're trying to implant in her mind is the guitar. You also ask one of the people there to pull out their phone and record the interaction.

You go back to your friend and give her your phone open to the notepad app and ask her to draw whatever it is she's thinking of.

As she does, you look over her shoulder to see if she's on the right track.

"Interesting," you say, noncommittally.

You walk over to the audience side, and tell them not to react one way or the other because you don't want her to know if she got it right just yet. You have her show the drawing to everyone and it's a guitar.

You tell her to turn the phone back to herself and stare at her drawing, burning all the details into her mind.

You then have her close her eyes and you have a member of the audience tell you to stop as you sweep your finger around the room. Let's say you end up pointing to an exercise bike.

"Okay, that's what I'm going to go for."

You have the person on stage open her eyes and stare into yours. "Don't break eye contact with me. Just let your eyes take in mine. Try to forget anything else in the room. Forget those people over there. Actually, keep your eyes locked on mine and turn with me."

Put your hands on her shoulders and turn her back to the audience.

You hold eye contact for a bit. "Okay, without looking, what did you draw?"

"An exercise bike," she says. Even though an exercise bike was just randomly chosen and everyone saw she drew a guitar.

"You didn't draw a guitar?" you ask.

"No."

"Take a look," you say.

She looks at her drawing and sees it's a guitar.

The audience confirms that's what she drew originally and the exercise bike was just chosen and (apparently) somehow swapped for the actual memory in her head.

She can watch the video if she's unconvinced.

Notes

I think the method is clear for those of you with the app. You can re-read the description to get the actual choreography that makes it work.

As it's written above is the only way I've performed it. It wasn't a trick that was 100% my style so I only did it a few times. As I write it up now, I think it might be better not to "predict" her original drawing. I think that's a clearer narrative. The person draws whatever she wants and you are able to "swap" that memory for something else.

That might make more sense than you predicting her original drawing and then changing her memory later.

You don't have to force the final option (exercise bike above). You could just say, "I'll make her think she drew…hmm… the exercise bike." But I think it's much stronger if it seems like a selection that was made randomly.

I don't love a pointing/timing force, but I'm not sure what would be better here. To give yourself more leeway on the force, sweep your pointing finger from left to right, leading up to the force object, but also move it in an infinity symbol pattern (or any kind of back and forth pattern) as you do. This makes it relatively easy to end up near the force object.

[This was inspired by an email I got a few years ago from Demian Max suggesting a Jerx App based version of Brandon Queen's Lacuna. While I liked the idea, I didn't love that the handwriting of the name they "forgot" wouldn't match their handwriting. And you couldn't force the swapped in memory. You just had to name a name.]